Jafar Panahi's 'No Bears,' Todd Field's 'Tár' and Joanna Hogg's 'The Eternal Daughter' are among our critic's favorite films of the year.
The movies returned at something close to full force this year. COVID masks all but vanished from multiplex crowds, and from the audiences at the press screenings I attended . Sundance did cancel its in-person screenings for the second January in a row, thanks to the early Omicron surge, but other major film festivals continued on unimpeded. The Oscars made headlines , as did box office returns. Companies like Netflix, Warner Bros.
So why did cinema’s apparent resurgence so often feel like a retreat? Maybe it was the sense, even more pronounced than usual, that the audience at large couldn’t be bothered to care about movies other than “Top Gun: Maverick,” “Black Panther: Wakanda Forever” or anything else without a franchise-designating colon in the title.
That’s not a terrible thing. But it’d be a better thing in the hands of an industry, and an audience, that didn’t increasingly equate the big screen with outsized spectacle, to the exclusion of all else. The learned viewing habits of the pandemic, which prioritize convenience over curiosity, now seem to suspend themselves only when a big event picture — or a Marvel movie, which at this point can scarcely be considered an event — comes along.
This year saw numerous great filmmakers, from Charlotte Wells to Steven Spielberg, effectively become their own protagonists. Iranian director Jafar Panahi has been turning the camera on himself — or a version of himself — for years now , both confronting and sidestepping an oppressive filmmaking ban with formal ingenuity, incisive social criticism and sly, self-effacing humor.
The widening chasm between a parent and a child, always a potent wellspring of emotion, has seldom been measured to such layered and heartbreaking effect as it is in
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